Primitivism is a "donkey's tail" association. “And the sun fell asleep over the Adriatic Donkey's tail
On Mondays, many of Moscow's museums are closed. But this does not mean that the public does not have the opportunity to become acquainted with beauty. Especially for the first day of the week, the site’s editors launched the “10 Unknown” section, in which we introduce you to ten works of world art from the collection of Moscow museums, united by one theme. Print out our guide and feel free to take it to the museum.
Olga Rozanova. "Cityscape"
On February 5, 1912, 105 years ago, the first exhibition of the Society of Avant-Garde Artists, “Jack of Diamonds,” opened. Unlike the previous exhibition in 1910, which gave the Society its name and which was attended by only 200 people, this one had resounding success: all of Moscow was talking about her, and along with Russian avant-garde artists one could also see the French here - Picasso and Matisse.
Pyotr Konchalovsky
Photo gallery
"Jack of Diamonds" became one of the first avant-garde artistic associations in Russian art. It included all the artists who defined the course of time in painting: Kandinsky, Malevich and Konchalovsky worked side by side, breaking boundaries and breaking through the skies of academic traditions. The artists of the “Jack of Diamonds” were united by the desire to fill painting with the color and energy of Fauvism and Cubism, they experimented with form, crushed volume, broke planes, and in general were very close to their French colleagues Pablo Picasso and Henri Matisse. Russian artists came to Paris specifically to get acquainted with them and adopt their artistic discoveries. But, as it turned out, the question of the continued existence of the association was this: to follow the European masters or mix their experiments with Russian folk traditions.
Ilya Mashkov
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Ilya Mashkov and Pyotr Konchalovsky were among those who decided that the French painting of Paul Cezanne was closer to them than Russian popular print. When half of the artists left the Jack of Diamonds in 1912, it was these two who preserved the community, becoming its ambassadors. In 1916, Konchalovsky and Mashkov left the association, and in 1917, on the eve of the revolution, it disintegrated. However, the revolution made its own adjustments to the work of all participants in the “Jack of Diamonds”, without exception.
Mikhail Larionov
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But Mikhail Larionov decided that Russian primitive drawing and folk art were much more interesting than French delights. In 1912, together with his wife Natalya Goncharova, he left the association, organizing his own, called “Donkey’s Tail”. Of course, he does not deny the achievements of his colleagues, which is obvious even in the still life with pears from 1915, painted as if Matisse himself was standing behind the artist while creating the picture. However, he begins to actively borrow folk motifs. For example, in the cycle of seasons, along with a primitive image of a girl symbolizing winter, a text is given that is reminiscent of the popular print tradition.
Natalia Goncharova
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Natalya Goncharova does the same: her work and even one work (“In the Artist’s Studio”) can combine the techniques of Matisse (still life), Cezanne (black outline) and orthodox icon Our Lady, inscribed in the space of the picture. At the same time, where Goncharova, it would seem, turns to a traditionally Russian theme and depicts peasants collecting brushwood, snowflakes frozen in the frosty air turn into pure decorative motif, completely unusual for the traditions of Russian painting.
Kazimir Malevich
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It is difficult to imagine a more world-famous Russian avant-garde artist than Malevich. Maybe Kandinsky. But it was with the association “Jack of Diamonds” that the avant-garde path of these artists began. Each of them chose their own path - Malevich “invented” Suprematism, and Kandinsky became the main Russian abstractionist. Essentially, these two phenomena “grew” out of creative association and an exhibition that took place 105 years ago. Of course, "Black Square" is brilliant. But both before and after him, Malevich had a huge number of beautiful figurative works, landscapes and portraits.
Ivan Klyun
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Ivan Klyun was one of Malevich’s closest associates and actively developed the ideas of Suprematism. But this attachment did not last long: his passion for impressionism and post-impressionism, interest in color brought him to “Jack of Diamonds,” and they also overcame Klyun’s love for the Suprematist form. The artist was cramped within the strict boundaries of pure forms. Gradually, he focused his attention on non-objective compositions, still lifes, illustrations for books and posters, and was actively involved in the design of propaganda materials.
Wassily Kandinsky
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Wassily Kandinsky, regardless of the Jack of Diamonds association, became the founder and theorist of abstract art, one of the most influential artists of the 20th century. He took part in collective exhibitions, but it is still impossible to call him a full participant in the association, since already in 1911 he, together with his friend, artist Franz Marc, founded the Blue Rider group in Munich. Therefore, the Moscow events affected him indirectly.
Alexandra Exter
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In 2001, the exhibition “Amazons of the Russian Avant-garde” opened in New York, where works by Natalia Goncharova, Alexandra Ekster, Olga Rozanova, Lyubov Popova, Varvara Stepanova and Nadezhda Udaltsova were presented. This exhibition created a real sensation in the art world: in the wake of feminist protests, the organizers showed the whole world that the Russian avant-garde was half female and that nowhere else in the world was there such a powerful, crushing movement as in Russia at the beginning of the 20th century.
Olga Rozanova
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Popova went through many stylistic stages in her work and artistic directions: cubism, futurism, suprematism in the spirit of Malevich and even the “Jack of Diamonds” were only temporary periods for her. But such was the fate of almost all members of this association. Speed and variability became the defining properties of the Russian avant-garde, so it is not surprising that this era so rapidly gave birth and destroyed new experimenters.
“Donkey's Tail” is one of the most famous and even sensational artistic associations in our country. The association was organized in 1912 by Russian avant-garde artists Mikhail Fedorovich Larionov and Natalya Sergeevna Goncharova. This organization of artists attracted public attention from the very beginning. It united like-minded creators who were close to avant-garde art movements.
N Goncharova "Harvest"
The name "Donkey's Tail" comes from one of the paintings that was exhibited at an exhibition in Paris in 2010. This painting was unusual in that it was painted with the tail of a donkey.
Unfortunately, despite its quick start and even slightly scandalous popularity, the association of artists did not last long and disintegrated in 1913, leaving behind only the memory of historical event in avant-garde art.
N. Goncharova "Round Dance"
N. Goncharova "Boy with a rooster"
N. Goncharova "Bathing horses"
N. Goncharova "Self-portrait with yellow lilies"
M. Larionov "Smoking Soldier"
In addition to Mikhail Larionov and Natalya Goncharova, the “Donkey's Tail” included such artists as: Kazimir Malevich, Vladimir Tatlin, V. Bart, A. Shevchenko and others.
K. Malevich "Flossers"
Unlike other avant-garde artistic associations, artists from Donkey Tail promoted the unification of the European school and the Russian tradition folk art, Russian primitivism, lubok and so on.
The paintings of these artists fully confirmed their theses. Deliberately simplified forms, somewhere reminiscent of ethno-primitivism coupled with avant-garde stylistics that were widespread in the early 1910s.
V. Tatlin "Self-portrait"
For many, “Donkey’s Tail” is closely associated with the concept of primitivism in painting. The collapse of the group occurred due to the fact that many of the artists who were part of the association, having tried themselves in this style, little by little they began to retreat to different sides, try yourself in other genres and directions.
V. Tatlin "Model"
V. Bart "Double self-portrait"
A. Shevchenko “Woman in Red (Portrait of the artist’s wife N.S. Psishcheva-Shevchenko)”
Donkey's tail"- one of the most famous and even sensational artistic associations in our country. The association was organized in 1912 by Russian avant-garde artists Mikhial Fedorovich Larionov and Natalya Sergeevna Goncharova. This organization artists attracted public attention from the very beginning. It united like-minded creators who were close to avant-garde art movements.
The name "Donkey's Tail" comes from one of the paintings that was exhibited at an exhibition in Paris in 1910. This painting was unusual in that it was painted with the tail of a donkey. Unfortunately, despite its quick start and even slightly scandalous popularity, the association of artists did not last long and disintegrated in 1913, leaving behind only the memory of a historical event in avant-garde art.
In addition to Mikhail Larionov and Natalya Goncharova, the “Donkey's Tail” included such artists as: Kazimir Malevich, Vladimir Tatlin, V. Bart, A. Shevchenko and others. Unlike other avant-garde artistic associations, artists from Donkey Tail promoted the unification of the European school and the traditions of Russian folk art, Russian primitivism, lubok, and so on. The paintings of these artists fully confirmed their theses. Deliberately simplified forms, somewhat reminiscent of ethno-primitivism coupled with avant-garde stylistics that were widespread in the early 1910s. For many, “Donkey’s Tail” is closely associated with the concept of primitivism in painting. The collapse of the group occurred due to the fact that many of the artists who were part of the association, having tried themselves in this style, gradually began to move away in different directions, trying themselves in other genres and directions.
Works of K. Malevich
Kazimir Severinovich Malevich (1878 - 1935) is an artist famous in the genre of avant-garde, impressionism, futurism, and cubism.
His first paintings were painted under the influence French impressionists and themselves, of course, were also created in the style of impressionism. After some time, he became passionate about futurism. Was almost the most active participant all futurist exhibitions, and even worked on costumes and scenery, in a word, designed a futurist opera called “Victory over the Sun” in 1913. This performance, held in St. Petersburg, became one of the most important stages in the development of the entire Russian avant-garde.
It was the geometrization of forms and maximum simplification in design that prompted Kazimir Malevich to think about creating a new direction - Suprematism.
Malevich's work
The artist made a revolution, took a step that no one in the world could take before him. He completely abandoned figurativeness, even fragmented figurativeness, which had previously existed in futurism and cubism.
The artist showed his first forty-nine paintings to the world at an exhibition held in Petrograd in 1915 - “0.10”. Under his works, the artist placed a sign: “Suprematism of painting.” Among these paintings was the world-famous “Black Square”, painted in 1914 (?), which caused fierce attacks from critics. However, these attacks do not subside to this day.
Already in next year Kazimir Malevich published a brochure entitled “From Cubism to Suprematism. New pictorial realism,” in which he clearly substantiated his innovation.
Suprematism ultimately had such a huge influence not only on painting, but also on architectural art West and Russia, which brought its creator truly worldwide fame.
Suprematism
Flower girl
Like all artists of a non-standard, “left” movement, Kazimir Malevich was very active during the revolution.
The artist designed the scenery for Vladimir Mayakovsky’s first play “Mystery Bouffe” in 1918; he headed the Art Department of the Moscow Council. When he moved to Petrograd, he headed and taught at the Free Art Workshops.
In 1919, in the fall, Kazimir went to the city of Vitebsk in order to teach at the Narodnaya art school, which was organized by Marc Chagall, and which soon transformed into the Artistic and Practical Institute. He left Vitebsk only in 1922 to return to Petrograd and work at a porcelain factory, invent more and more new forms of painting, and studied the possibilities of using Suprematism in architecture.
In 1932, Malevich achieved the position of head of the Experimental Laboratory at the Russian Museum, where he developed the theory of the “surplus element in painting”, which he had put forward earlier.
In the same year, 1932, Malevich suddenly turned again to traditional realism. Perhaps this was due to the trends of new times, but, one way or another, to finish this new period Kazimir Malevich was never able to achieve his creativity. In 1933, he became seriously ill, and two years later, in 1935, he died.
Creativity of P. Filonov
Pavel Nikolaevich Filonov (January 8, 1883, Moscow - December 3, 1941, Leningrad) - Russian, Soviet artist, founder, theorist, practitioner and teacher of analytical art - a unique reforming direction in painting and graphics of the first half of the 20th century.
Filonov's creativity
Filonov's first significant works, usually written in mixed media on paper (Man and Woman, Feast of Kings, East and West, West and East; all works - 1912–1913, Russian Museum, St. Petersburg), are closely related to symbolism and modernism - with their allegorical personification figures and a passionate interest in “ eternal themes» being.
They develop the artist’s original manner of constructing a picture with crystalline color cells - like a firmly “made” thing. However (unlike V.E. Tatlin) he remains, as it were, a “futurist-conservative” and does not move on to design, remaining within the framework of pure, sparkling, colorful picturesqueness.
In 1913, he designed stage sets for Vladimir Mayakovsky’s tragedy “Vladimir Mayakovsky.” For the next two years, Pavel Filonov worked as an illustrator of futuristic booklets, published his transrational poem “Sermon on the World’s Growth” and began developing artistic theories: “The Ideology of Analytical Art” and “The Principles of Madeness.”
In 1919 The artist's paintings were exhibited at the first state free exhibition of workers' art in Petrograd. Due to continued harsh criticism and attacks against Filonov, his exhibition, planned for 1929-1930. did not take place at the Russian Museum.
In 1932 His life and work were not cut short by the war. He died of pneumonia during the siege of Leningrad in 1941. In 1967 A posthumous exhibition of works by Pavel Filonov was held in Novosibirsk.
Only in recent years has Filonov’s painting received worldwide recognition. The images created by his thought gave a huge impetus to the development of the avant-garde in the USSR. He found his art style, thanks to the uncompromising ideals in which he believed.
Already in his early works the non-acceptance of the ideology of the Academy of Painting in St. Petersburg is clearly visible. Filonov left the academy in 1910 and made the choice to ignore the main direction in painting in order to further develop his style.
In his painting, Pavel Filonov observed and realized the forces that comprise the existence of humanity. His goal was to achieve a systematic knowledge of the world and its human population.
Filonov's paintings were the result of more than just semantic images. His painting is a statement of intellectual principles, some of which are taken from the theory and ideology of the artist. In Filonov’s paintings one can see “design intelligence” in the image.
Pavel Filonov devoted a lot of time and effort to x
artistic inventions and creative ideas. He worked 18 hours a day.
In 1925, having found many followers and supporters of his style of expression, he founded a school in Petrograd. This school was closed by the government in 1928. together with all private artistic and cultural organizations.
Artist's works
- Shostakovich Symphony
- Holy family
- Collective farmer
Collective farmer
Those who have nothing to lose
Spring formula
Man and woman
Feast of Kings
Animals
Those who have nothing to lose
"Donkey's Tail" is a group of young artists that separated from
"Jack of Diamonds" and organized in 1912 in Moscow together with members
"Youth Union" exhibition of the same name. Among its participants are M.F.
Larionov, N. S. Nocharova, K. S. Malevich, V. S. Bart, A. V. Shevchenko and others.
The exhibition clearly showed the creative aspirations of its organizers
differ from the art of the "Jack of Diamonds". If the latter were oriented
mainly on modern French painting, then Larionov,
Goncharova, their like-minded people found it interesting to combine their achievements
the latest European schools with national Russian art. Hence the interest
these artists to folk art, popular prints, icon painting, as well as
primitive forms of image, children's drawing, the art of the East, in
in which they discovered pure, primordial traditions.
"Donkey's Tail" - title art exhibition 1912, and then the association of Moscow painters who separated from the “Jack of Diamonds” group: M. Larionov, N. Goncharova, K. Malevich, V. Bart, A. Shevchenko and others.
The split of the “Jack of Diamonds” occurred for reasons of principle. If the majority of the Jack of Diamonds, among whom were R. Falk, P. Konchalovsky, A. Kuprin, were oriented toward new French painting, then the artists of “Donkey’s Tail” sought to combine the pictorial achievements of the European school with the traditions of Russian folk, naive art, peasant primitive painting, lubok, icon painting, art of the East. The reason for the original name was a hoax that occurred at the Paris “Salon of Independents” in 1910, when a painting under the same name, actually “painted” with the tail of a donkey, was exhibited there. On this occasion, young Russian artists declared: “Now we raise the gauntlet. The public thinks that we write with a donkey's tail, so let us be a donkey's tail for them." 1 Paintings by Larionov and Goncharova, the leaders of the group, confirmed this challenge public opinion, they were distinguished by deliberate rudeness, simplification of form, stylization as a folk primitive. Thus, the presence at the exhibition of “Four Evangelists” and images of Saints, stylized by Goncharova as a popular print, was considered blasphemous by the censors.
Pictures of leaders
groups were distinguished by deliberate coarsening of forms, stylization of painting
primitives. The exhibition met the expectations of the organizers, making an impression
close to scandal.
After the exhibition, the group of its organizers retained the name "Donkey"
tail." Throughout the second half of 1912, they negotiated
joining the Youth Union as a Moscow branch. Other
direction of work was to organize a meeting at which they were to
members of the "Donkey's Tail" group, the "Youth Union" societies and
"Jack of Diamonds" in order to develop joint program. However
fundamental differences of an aesthetic nature between these three
groups made solving this problem impossible. By 1913 the group
"Donkey's Tail" actually broke up.
At their exhibitions, “Donkey Tails” showed not only own works, but also the works of children, the “creativity” of Moscow painters, the wonderful signs of the Tiflis primitive painter Niko Pirosmanishvili, whom they opened to the artistic community. V.D. Bubnova and Voldemar Matvey also took part in the exhibitions.
In 1913, the group broke up, and its leader Larionov was already creating a new abstract art- “Rayism”.
Published by: Donkey's Tail. Catalog of the exhibition of paintings by the group of artists Donkey's Tail. M., 1912.
The exhibition was organized by M.F. Larionov; the second (after “Jack of Diamonds” in the winter of 1910–1911) in a series of his four famous exhibitions of avant-garde painting from the early 1910s. The meaning of the shocking title of the exhibition is connected with the well-known story in artistic circles about a donkey from Paris, who, with a brush tied to its tail, created a painting that was allegedly recognized by art critics as a masterpiece. pictorial art. “Donkey’s Tail” was organized by Larionov after his decisive break with a group of his former like-minded people - artists P.P. Konchalovsky, A.V. Lentulov, I.I. Mashkov, who created at the end of 1911 art society"Jack of Diamonds". Larionov's exhibition opened shortly after the second exhibition of "Jack of Diamonds" in February 1912. His associates took part in it - V.S. Bart, S.P. Bobrov, N.S. Goncharova, K.M. Zdanevich, I.F. Larionov, A.V.Shevchenko; K.S. Malevich and V.E. Tatlin, who were close to Larionov at that time; young artists from St. Petersburg M.V. Le-Dantu, V.I. Matvey, E.Ya. Sagaidachny; as well as A.A. Morgunov, N.E. Rogovin, I.A. Skuye, A.V. Fonvizin, M.Z. Shagal, A.S. Yastrzhembsky. Simultaneously with “Donkey’s Tail” and in the same exhibition space, an exposition of the St. Petersburg association “Youth Union” was launched, with the participation of V.D. Bubnova, K.V. Dydyshko, A.M. Zelmanova, L.N. Kurchaninova, P. Lvov .Filonov (outside the catalogue) and others.
V.E.Tatlin. Sailor. 1911. Canvas, tempera.71.5x71.5. Timing belt (“Donkey’s tail.” Catalog no. 257)
N.S. Goncharova. Peasants picking apples. 1911. Oil on canvas. 104x97.5. Tretyakov Gallery ("Donkey's Tail", catalog No. 68)
The exhibition opened in the new exhibition building MUZHVZ on the street. Myasnitskaya. The provocative and scandalous meaning of the name “Donkey’s Tail” was evident from the very beginning: on the opening day, a fire broke out in the exhibition room (it was quickly put out); In addition, at the request of the censor, religious works by Goncharova (the tetraptych “Four Apostles”) and a painting by Filonov were removed from the main exhibition. The Moscow press, with its publications about the rivalry between “Jacks of Diamonds” and “Donkey Tails,” also fueled public interest in the exhibition. But these manifestations of a shocking nature did not at all constitute its main content. “Donkey’s Tail” entered the history of avant-garde art not so much due to the scandalousness of the name, but mainly because innovative character And High Quality presented at the exhibition paintings.
The paintings of the exhibiting artists at Donkey's Tail were done in a primitivist style. In 1912, the primitivist period in the work of group leader Larionov reached a phase of maturity and highest strength artistic expression. This was also evident in Larionov’s paintings presented at the exhibition. His exposition was significant - more than 40 works. Among them, a series of canvases created by the artist based on his “failed trip to Turkey” stood out. Such works in the series as “The Turk” (1911–1912. Tretyakov Gallery) are characterized by a very refined color scheme of the composition, but at the same time, a certain return to the depiction of joyful and idyllic scenes in the Black Sea landscape - the theme of the already ended impressionistic period of creativity. In “Turkish Scene. To the Smoker" (1911. Private collection, Paris; probably the same as “The Young Lady and the Maid” in the exhibition catalogue) the primitivist interpretation of the characters depicted was combined with a flat, but at the same time extremely refined, built on the finest shades and nuances of color, the solution to the background of the picture.
The exhibition featured a significant number of paintings from Larionov’s “soldier” series. They were associated with impressions of military service, which the artist attended from the end of 1910. Many of the works presented at the exhibition are now well known: “Morning in the Barracks” (1910. Tretyakov Gallery), “Study near the Camp” (1911. Russian Museum), “Resting Soldier” (1911–1912 . Tretyakov Gallery), “Cossack” (“Soldier on Horseback”. 1911–1912. Tate Gallery, London). The works of the “soldier’s” series, created at the peak of the primitivist period of Larionov’s work, are characterized by a combination of deliberately “down-to-earth” subjects, taken from everyday life in the army, with very refined and unconventional pictorial solutions. At the same time, Larionov boldly introduces into his canvases such elements as primitive drawings, fence inscriptions, or even numbers on signs indicating the number of a military unit. Particularly shocking and provocative, which aroused the indignation of idle newspaper criticism, was his “Self-Portrait” (“Self-Portrait” (“ Own portrait Larionov." 1911–1912. Private collection). The artist with a laughing face is depicted in a white shirt with an open collar; an inscription is included in the picture - as if it were his own signature.
Other works by Larionov shown at the exhibition are also among his best paintings. Among them is “Hairstyle before going on stage” (“Lady’s hairdresser”. 1910–1911. Private collection), which is also associated with the previous “hairdressing” series, or “Circus dancer before going out” (1911. OOMII), in which reflected the artist’s interest in provincial theater posters. In a number of his other works, Larionov tried to expand the boundaries of painting, turning to new techniques for conveying reality (“Instant photography”, “Photographic study of spring melted snow” and others) or depicting themes and manifestations of life that were not previously characteristic of painting (“Woman in Blue” corset (newspaper advertisement)"). Finally, works such as “Stage (cinema)” (1911–1912. Center Pompidou) and “Kolnersha” (1911–1912. Tretyakov Gallery) were created in muted and partly monochrome color scheme, with a predominance of soft white. In the work of the exquisite colorist Larionov, such a temporary “attenuation” of the intensity of the pictorial color testified to the future imminent changes in his painterly manner.
The works of other exhibitors also presented the rich possibilities of primitivism. Other masters, Larionov’s associates, also followed this direction. They showed quite large exhibitions of primitivist paintings. In some of Shevchenko’s works, such as several of his “soldier’s” paintings, also inspired by impressions of military service, a certain influence of the work of the group leader, Larionov, was felt. Another version of primitivism (perhaps somewhat closer to the paintings of the “Jack of Diamonds” artists) was demonstrated by Morgunov in his paintings. Tatlin's exhibition attracted attention to a series of his "sailor" works related to his service in the navy ("The Fish Seller" and others), and costume sketches for the production of " folk drama"Tsar Maxemyan."
Goncharova’s extensive (more than 50 paintings) exhibition aroused considerable interest. Many of the paintings shown by the artist are among the best both in her heritage and in the pictorial achievements of Russian primitivism. These are her religious works (the tetraptych “Four Apostles” was shown in a separate room due to a censorship ban), scenes from peasant life(“Peasants picking apples”, “Harvest”, “Round dance” and others), still lifes. In her works, Goncharova boldly used elements of folk art - icons, popular print or even painted tin trays (“Smoker” (tray painting style)). The artist presented at the exhibition both a series of works created on one subject, and polyptychs consisting of several parts. Interesting possibilities for the further development of avant-garde painting were demonstrated by her canvases from the series “Artistic Possibilities Regarding the Peacock”: in them, the image of the bird was made alternately in the “Chinese style”, “Egyptian style”, “Russian embroidery style”, as well as in a modern manner - “ Cubist style" and "Futurist style".
Malevich presented his variation of primitivist painting at the exhibition. The works of the “peasant cycle” he showed (“Harvesting the rye,” “Funeral of a peasant,” “Peasant women in the church”) became the most important stage in his creative development. In his original works created during the “Donkey’s Tail” period, Malevich turns out to be partly close to the primitivist work of Goncharova and is comparable to it to a much greater extent than with the work of other members of the group. Other paintings by Malevich were related to city life. Such works of his as “The Callus Operator in the Bath”, “Argentine Polka”, are distinguished by their colorfulness and boldness in the choice of theme and in compositional solution, at the same time, they are characterized by a certain shockingness.
The Donkey's Tail exhibition aroused great public interest and a significant amount of press coverage; Of the numerous publications, the review by M.A. Voloshin (Donkey's Tail // Russian Art Chronicle. 1912. No. 7. April) deserves to be noted.
Literature:
- Literature: Lobanov 1930; Alexander Flaker. Donkey tail. About one self-name // In memory of Khardzhiev 2000; A.A. Strigalev. About the exhibition activities of the St. Petersburg society of artists “Youth Union” // Voldemar Matvey and the “Youth Union”. Rep. ed. G.F.Kovalenko. M., 2005; Pospelov 2008; Inshakov 2010;
